Bloom is having a rest from a rather busy and draining day. In The Odyssey, a shipwrecked, storm-tossed, and exhausted Odysseus washes ashore in Phaeacia, where Princess Nausicaa finds him naked and brackish. As Ulysses ventures into ever stranger and more disparate literary territories, its styles and voices will continue to shift, shaping our experience of the plot. That said, there is some debate over the narrative voice and perspective here.
|Published (Last):||24 June 2010|
|PDF File Size:||16.62 Mb|
|ePub File Size:||11.90 Mb|
|Price:||Free* [*Free Regsitration Required]|
Joyce gains continuity with the previous episode, "The Cyclops," despite the time differential by continuing several motifs from that chapter, the most prominent of which is the arc. The rising and falling of the biscuit tin that was flung by the Citizen is reflected in the various ascents and declines in "Nausicaa! Also, the form of the episode is as simple as its style Joyce called it — perhaps knowingly — a "marmalady" style, a sticky style.
The first part of the episode deals with Gerty; the second, with Bloom and his ruminations. Parallels with Homer are not difficult to recognize. Odysseus, washed ashore on the land of the Phaeacians, was awakened from sleep when he was struck by a ball misthrown by Princess Nausicaa and her friends; the resourceful and beautiful young girl had come to the shore to play and wash some clothing.
Gerty knows exactly what she is doing in "seducing" Bloom — the dark and mournful foreign stranger — as she leads him to a moment of communication, albeit an ultimately unproductive one. In short, she is scarcely the "fair unsullied soul" that Stephen saw calling to him at a climactic moment towards the end of Book Four of A Portrait.
Stephen interpreted his "Pagan Mary" as beckoning him to the freedom of Europe; but in Ulysses, Joyce effectively portrays here the limitations of human nature, as well as its exalted moments.
He recalls his almost approaching Mrs. Clinch, whom he mistakenly took to be a prostitute, and then he recalls the occasion when he paid a girl in Meath Street to say dirty words aloud. He also recalls the romance between Molly and Mulvey, and he thinks again about the time when he made love to Molly on Howth Hill.
He wonders if Boylan pays Molly for sex, and, in true businesslike fashion, he estimates how much Molly is worth. As usual, though, Bloom is an old "stick in the mud," and his phallic "stick" being limp, he tosses his writing implement into the sand, where it sticks, literally. As the cuckoo bird at the end of "Nausicaa" indicates, Bloom, despite all his thoughts about sex, is the cuckolded one.
In addition, "Nausicaa" is cleverly related to other chapters in Ulysses in various other ways. For instance, Bloom notes that his watch has stopped at p. He pulls the sticky, semen-soiled material away from his foreskin, and his exclamation of "Ow!
Thus, Bloom becomes, metaphorically, "neither fish nor fowl," paralleling his alienated social status in Dublin.
He takes pride in his challenge to the Citizen in "The Cyclops": "Got my own back there. A" on the sand, and the meaning is ambiguous. Bloom could be the Christ who wrote an unknown message in the road to save the "woman taken in adultery. Purefoy, who has spent three days in labor, and whom he will visit in the next episode. At the end of the chapter, nonetheless, Bloom remains the charitable hero despite his pointless spilling of the seed that would continue his name and thus fulfill his duty as a Jew.
Episode 13 - Nausicca
Buck Mulligan , a boisterous medical student, calls Stephen Dedalus a young writer encountered as the principal subject of A Portrait of the Artist as a Young Man up to the roof of the Sandycove Martello tower where they both live. There is tension between Stephen and Mulligan, stemming from a cruel remark Stephen has overheard Mulligan making about his recently deceased mother, May Dedalus , and from the fact that Mulligan has invited an English student, Haines , to stay with them. The three men eat breakfast and walk to the shore, where Mulligan demands from Stephen the key to the tower and a loan. Departing, Stephen declares that he will not return to the tower tonight, as Mulligan, the "usurper", has taken it over. Episode 2, Nestor [ edit ] Stephen is teaching a history class on the victories of Pyrrhus of Epirus. After class, one student, Cyril Sargent , stays behind so that Stephen can show him how to do a set of arithmetic exercises.
Joyce gains continuity with the previous episode, "The Cyclops," despite the time differential by continuing several motifs from that chapter, the most prominent of which is the arc. The rising and falling of the biscuit tin that was flung by the Citizen is reflected in the various ascents and declines in "Nausicaa! Also, the form of the episode is as simple as its style Joyce called it — perhaps knowingly — a "marmalady" style, a sticky style. The first part of the episode deals with Gerty; the second, with Bloom and his ruminations. Parallels with Homer are not difficult to recognize.
Far away in the west the sun was setting and the last glow of all too fleeting day lingered lovingly on sea and strand, on the proud promontory of dear old Howth guarding as ever the waters of the bay, on the weedgrown rocks along Sandymount shore and, last but not least, on the quiet church whence there streamed forth at times upon the stillness the voice of prayer to her who is in her pure radiance a beacon ever to the storm-tossed heart of man, Mary, star of the sea. The three girl friends were seated on the rocks, enjoying the evening scene and the air which was fresh but not too chilly. Many a time and oft were they wont to come there to that favourite nook to have a cosy chat beside the sparkling waves and discuss matters feminine, Cissy Caffrey and Edy Boardman with the baby in the pushcar and Tommy and Jacky Caffrey, two little curlyheaded boys, dressed in sailor suits with caps to match and the name H. Belleisle printed on both.
Cissy and Edy tend to the babies and occasionally tease Gerty, who is sitting some distance away. The narrative sympathetically describes Gerty as beautiful, and outlines the commercial products she uses to maintain her looks. Gerty daydreams of marriage and domestic life with a silent, strong man. The toddlers kick their ball too far. Gerty tries to kick the ball to Cissy but misses. She fantasizes that he is a foreigner in mourning who needs her comfort.